‘A History of Longing’ speculated on aspects of simulation technology and museology. It used cargo cults as a metaphor for virtual reality’s evacuation of the real world, and recreated the space of the traditional museum to consider the relationship between the real and the virtual. Three pairs of handmade objects were made using very low-tech construction from found materials. The objects refer to the mask and data glove used in virtual reality for ‘looking’ and ‘feeling’, and also to cargo cult artefacts. The objects/artefacts were transformed into photograms, then the photograms were scanned and translated into Postscript computer language. The objects were also videotaped and edited digitally, using corruptions to produce a moving image generated by digital, not human logic.